Martha Reeves | New Music And Songs | Martha Reeves About Martha Reeves Motown's brightest female star after Diana Ross, Martha Reeves was the earthy, gospel-infused counterpart to her rival Ross' uptown sophistication. With her backing group, the Vandellas, Reeves cut some of the brightest, most infectiously danceable R&B of her time. Unfortunately, she didn't fare as well after leaving Motown for a solo career in the '70s, and although she continued to perform for quite sometime, it was mostly on the oldies circuit, looking back over her past glories. Reeves was born in Eufaula, AL, on July 18, 1941, and before she was even a year old, her family moved to Detroit. As a child, she sang in her grandfather's church and in school, and continued her vocal training through high school. After graduating in 1959, she joined a girl group called the Fascinations, and the following year co-founded the Del-Phis, whose membership included the future Vandellas.

They cut a flop single for a Chess subsidiary in 1961; the same year, Reeves won a talent contest as a solo act and got a nightclub engagement performing as Martha LaVaille. There she was noticed by Motown exec William "Mickey" Stevenson, who invited her to stop by the label's offices. Reeves wasn't able to land an audition right away, but did parlay her visit into a secretarial job in the A&R department. She caught a lucky break when backup singers were needed for a recording session as quickly as possible, and so the Del-Phis wound up supporting Marvin Gaye on his first hit, 1962's "Stubborn Kind of Fellow." Stevenson was impressed enough to record a Del-Phis (renamed the Vels) single, "You'll Never Cherish a Love So True ('Til You Lose It)," and released it on Motown's Mel-O-Dy subsidiary.

One day, Mary Wells failed to show up for a recording session, and musicians' union rules demanded that a lead vocalist be present on the mic -- so secretary Reeves was hastily tapped to sing "I'll Have to Let Him Go." That song went on to become the first single credited to the newly renamed Martha & the Vandellas in 1963; their second single, the ballad "Come and Get These Memories," reached the R&B Top Five. The rest, of course, was history. Martha & the Vandellas racked up an impressive slate of Motown classics that included the Top Five smashes "(Love Is Like A) Heat Wave" and "Dancing in the Street," plus "Nowhere to Run," "I'm Ready for Love," "Jimmy Mack," and "Honey Chile," all of which made the R&B Top Five. Despite the occasional personnel turnover, and the fact that rivals the Supremes had become Motown's female group of choice, Martha & the Vandellas' run of success continued through 1967.

Unfortunately, feeling the pressure to keep up, Reeves developed an addiction to prescription drugs, and in 1968 a bad acid trip prefigured a nervous breakdown that slowed the Vandellas' momentum even further. Although they continued to perform and record for several more years, they never matched the success of old and disbanded in December 1972 after a farewell concert in Detroit. Meanwhile, Motown decided to transfer its offices from Detroit to Los Angeles. Reeves adamantly refused to move along with them and sued for release from her contract; she eventually won her independence and signed with MCA as a solo artist. She entered the studio with producer Richard Perry and a top session cast, and cut a monstrously expensive album that mixed rock, pop, and R&B covers, both vintage and contemporary. Martha Reeves was released in 1974 and sold very disappointingly, especially given its cost. Reeves sank deeper into a host of personal problems until she finally cleaned up and became a born-again Baptist in 1977.

That year, she signed with Arista for The Rest of My Life, which blended '60s soul with disco-era production; once again, it sold poorly, and Reeves moved to Fantasy for 1978's even more disco-oriented We Meet Again, which featured four of her own compositions. After 1980's Gotta Keep Moving, Reeves gave up the ghost on her solo career. She spent the early '80s working on various Motown package tours, and eventually put together a new version of the Vandellas. In 1989, she reunited with original Vandellas Annette Sterling and Rosalind Holmes and cut the single "Step Into My Shoes" for British producer Ian Levine's Motor City label. However, she mostly continued make her living on the nostalgia circuit. Reeves was inducted into the Rock and Roll Hall of Fame in 1995.

~ Steve Huey, Rovi Hear more of Martha Reeves - Biography - IMDb Martha Reeves Jump to: Overview (3) | Mini Bio (1) | Trivia (14) | Personal Quotes (1) Overview (3) 5' 7" (1.7 m) Mini Bio (1) Martha Reeves was born on July 18, 1941 in Eufaula, Alabama, USA as Martha Rose Reeves. Trivia (14) Lead singer of 1960s group Martha & The Vandellas . Originally the A&R secretary at Hitsville USA, (Motown's offices/studio), Martha was called in to do "I'll Have To Let Him Go" when Mary Wells proved too ill to appear for the recording session. Inducted into the Rock and Roll Hall of Fame (as a member of Martha & The Vandellas ) in 1995. Martha & The Vandellas ranked #56 on VH1's 100 Greatest Women of Rock N Roll.

In 1963k she began work on a song called "Spellbound", which was written specifically for her by legendary singer-songwriter Smokey Robinson , and was to be a follow-up to Martha & The Vandellas ' #1 hit "Heatwave". Part of the backing track and full vocals were completed in mid-'63, then the rest of the music finished and mixed in late December of 1965. The song, however, was vaulted as a result of Motown founder Berry Gordy 's fixation on new sensation, The Supremes , and his interest in fast-tracking their growing career. The song has been widely talked about for years, and has even bootlegged on various European CDs, but the quality is poor. When she was inducted into the Rock & Roll Hall of Fame, Reeves specifically requested this song be issued. As of March 2005 Hip-O Select released the song on a double-CD anthology called "Spellbound" that contains completely unreleased material. Shares a birthday with fellow Rock and Roll Hall of Famer Dion DiMucci . Has one son, Eric (b.

1970) Aside from the recordings which were released by Martha & The Vandellas , 148 plus two of her own Motown solo recordings remained vaulted. In recent years, Reeves' two solo songs, plus 50 of the unreleased "Vandellas" tracks have surfaced. Only 95 remain in the vaults. Wrote a song called "Love Blind" about her abusive relationship with Gerard, the father of her son, Eric. The song is considered a collectors item and was released as a promotional single in 1975 to catapult her up-and-coming album "The Rest of My Life." The song--like the album--was not given the push it needed as a result of producer and label owner Clive Davis not liking the fact that Reeves sang in different keys that he had wanted. Nonetheless, "Love Blind" managed to chart in the Hot 100 on both the R&B Billboard and Cashbox charts. On Billboard it charted on May 31, 1975, peaking at #61 and staying on for six weeks.

On Cashbox it peaked at #72, charting June 7, 1975; staying on for four weeks. Her first solo endeavor, the self-tiled album "Martha Reeves" for MCA, is now considered a collectible classic by avid fans. The album took all of 1973 and part of 1974 to be completed, intending to be "the" piece that was to launch Reeves as a superstar;. It was produced by legendary songwriter/producer Richard Perry for a record (at the time) $250,000. However, it received insufficient promotion from the label sank into obscurity, despite good critical reviews. One song in particular, "I've Got to Use My Imagination," was to have been the first single pressed, but MCA executives pulled the song before its debut, leaving Gladys Knight & The Pips able to record their now famous cover. Another poignant song is Reeves' infamous cover of Van Morrison 's "Wild Night" which, though peaking at a mere #74 when released, has become a classic.

It was not only used as the theme to Thelma & Louise (1991) but but has since become the signature opener to Reeves' live performances. On Christmas Eve of 1997, See for Miles released the long-out-of-print record on CD, but soon pulled its distribution. As of July 22, 2005, reissue label Hip-O Select has released a limited edition of the album, with only 5,000 copies being printed. As a bonus, it was remastered and restored to its entirety, adding three songs which were to have been included on the original release. Recorded another album in 1975, after her 1974 debut for MCA. The album, which is titled "Rainbow," is extremely hard to find; both the original pressings, and the alternately-titled re-issue. The album was not promoted well, and it did not help that the label (which only a few who own the album know by name) folded shortly after its release.

In 1982 Phonorama acquired the licensing for the tracks, and re-titled the album "Dancin' in the Street" based on the fact that Martha re-recorded her famous hit for the project. The 1982 re-issue copies go for anywhere as high as $600, while the rare original pressings go $1,000 or more. Those who are avid fans of Reeves have debated it to be her best album ever. Ran for a won a seat on the Detroit City Council. Began serving her four-year term in January 2006. [November 2005] Still lives in Detroit. Is a candidate for the Detroit City Council. [May 2005] Her brother Benny Reeves was an original member of The Contours . Personal Quotes (1) Martha Reeves by Martha Reeves on Apple Music by professor1354 This is probably one of the finest albums that Martha Reeves created once leaving the Vandellas and Motown. Check Many Rivers to Cross and Carole King's Dixie Highway. If you want to hear Martha hit the "high ones" easily and clearly, listen with your soul--what a voice. God Bless.

A Stellar, Underrated Masterpiece by Exguyparis This album, produced by Richard Perry, is simply outstanding. I never understood why this album was not a huge hit. Every song is a gem. In particular, Wild Night, My Man, You've Got Me For Company (which I adore), and Many Rivers to Cross are stand-outs. Martha also delivers a funked-up version of Ain't that Peculiar, with some fine "Woo woo woo woos." The last three cuts on the iTunes album were not released on the original, so you get an added bonus. I strongly recommend this album, which has been high on my list of favorites for decades! Martha r-EEE-ves? Is it really spelled with three "e's", iTunes? Biography Born: July 18, 1941 in Eufaula, AL Genre: R&B/Soul Years Active: '60s, '70s, '80s, '90s, '00s Motown's brightest female star after Diana Ross, Martha Reeves was the earthy, gospel-infused counterpart to her rival Ross' uptown sophistication.

With her backing group, the Vandellas, Reeves cut some of the brightest, most infectiously danceable R&B of her time. Unfortunately, she didn't fare as well after leaving Motown for a solo career in the '70s, and although she continued to perform for quite sometime, it was mostly on the oldies circuit, looking back over her past glories. Reeves was born... Top Albums and Songs by Martha Reeves 1. The Vandellas Martha and the Vandellas One of Motown Records' earliest and most exciting vocal groups, Martha and The Vandellas achieved two Top Ten hits before the ascendancy of The Supremes. Driven by Martha Reeves' soulful, brassy lead vocals, the Vandellas became Motown's earthier, more aggressive "girl group" alternative to the Supremes. Martha Reeves, one of eleven children, was born in Eufaula Alabama on July 18, 1941. She moved with her parents Ruby and Elijah to Detroit, Michigan before her first birthday. Reeves spent most of her childhood singing and working in her grandfather's church. She attended Russell Elementary on Detroit's eastside and was taught vocals by Emily Wagstaff.

Northeastern High School was where she studied voice under the direction of Abraham Silver, who also coached Florence Ballard and Mary Wilson of the Supremes, Bobby Rogers of the Miracles. First Martha and the Vandellas group photo (From L-R Martha Reeves, Annette Beard and Rosalind Ashford) After graduating from high school in 1959, Reeves joined the girl group called the Fascinations. They recorded their first record about 1960, backing Mike Hanks on "The Hawk" on Mah's Records. They also backed Leon Peterson on "I Know You Know" on the Bobbin label in 1962. Their first big break was working with local singer J.J. Barnes on "Won't You Let Me Know." The 1962 single on Rich Records credited both Barnes and the Del-Phis and led to the answer record "Ill Let You Know" on Check-Mate. In the late summer of 1960 Reeves met Rosalind Ashford and they were invited to join Annette Sterling and Gloria Williamson in the Del-Phis.

After doing some local talent shows and jobs they recorded a single on Chess-Mate Records, a subsidiary of Chess Records in 1961. The Del-Phi"s recording that didn't make the charts was "My Baby Won't Come Back". Reeves as a solo entered and won a talent contest. The prize was a three day engagement at the Twenty Grand, a local nightclub where she sang as Martha LaVaille. On her last night, William "Mickey" Stevenson, an A&R and Berry Gordy's right-hand man at Motown Records, approached Reeves, after hearing her sing, and gave her his card. In 1961 Reeves was hired as his secretary. One day Motown head Berry Gordy needed background singers in short order for a session; Reeves and her friends, Ashford and Beard, were called in. They sang behind Marvin Gaye on "Stubborn Kind of Fellow," his first hit in 1962 and "Hitch Hike." A couple months later, Reeves again found her self in the right place at the right time.

Stevenson had called over to the studio, where a union rep was checking to make sure the label was following the rule that a singer had to be on a mic when tracks were recorded. In Mary Well's absence, Reeves sang "I'll Have To Let Him Go, impressing Stevenson enough ask the Del-Phis to record "You'll Never Cherish A Love So True ('Til You Lose It)." The session was a success, but Gloria decided she didn't want to leave her job and left the group. The single was issued anyway on Mel-O-Dy as by the Vells. The rest of the group convinced Gordy that they were staying as a trio. Gordy then asked the girls to come up with a new name.

They then called themselves Martha and the Vandellas, taking their name from Detroit street Van Dyke and Reeve's favorite singer Della Reese before recording "I'll Have to Let Him Go." Come Get These Memories Signed to the newly formed Gordy label in September 1962 as Martha and The Vandellas, the group's first hit was their second release, a beat ballad "Come Get These Memories" (#29 pop, #3 R&B 1963) and was Holland-Dozier-Holland's first collaboration as a songwriting team. "Memories" was followed by two explosive Holland-Dozier-Holland dance records: "Heat Wave" (#4 pop, #1 R&B, 1963) and "Quicksand" (#8 1963). After being turned down by Kim Weston, a Mickey Stevenson and Marvin Gaye composition,"Dancing in the Street" was given to Martha and the Vandellas; who turned it into their biggest hit (#2, 1964).

Their other big hits included "Nowhere to Run" (#8, pop, #5 R&B, 1965) and "I'm Ready for Love" (#9 pop, #2 R&B, 1966), "Jimmy Mack" (#10 pop, #1 R&B, 1967) and "Honey Chile"(#11 pop,, #5 R&B, 1967) were the last Holland-Dozier-Holland compositions they recorded, and were their last big hits. Rosalyn Ashford, Betty Kelly, and Martha Reeves The Vandellas 1963-1968 By 1967, the group was billed as Martha Reeves and the Vandellas, as she was featured solely as lead for the group. Beard retired in 1963 and was replaced by former Velvelette Betty Kelly; when Kelly left four years later she was replaced by Reeve's younger sister Lois. Ashford quit in 1969 and was replaced by another ex-Velvelette Sandra Tilley. Tilley died during surgery for a brain tumor in 1981.

The group disbanded in 1973 after giving a farewell concert on December 21, 1972, at Detroit's Cobo Hall. Lois Reeves went to work for Al Green. Martha Reeves launched a solo career, but her recordings for MCA, Arista, and Fantasy through 1980 failed to sell well. As recounted in her 1994 autobiography Dancing in the Street, Reeves believes that the groups succession was undermined by Motown and Berry Gordy JR's. obsession with the Supremes. An example being "Jimmy Mack which was held from release for two years because it sounded too much like the Supremes then current singles. A strong personality Reeves clashed with Gordy demanding answers to business questions that most other Motown artist didn't ask until years after they left the label. Struggling to maintain a hectic schedule of recording and performing, Reeves became addicted to prescription drugs, exacerbating emotional problems that led to nervous breakdowns and a period of institutionalization. Reeves has been drug free since 1977. In 1989 she, Ashford and Beard sued Motown for back royalties.

In 1974 Reeves signed with MCA Records, Her debut solo album, Martha Reeves produced by Richard Perry, had a minor hit "Power of Love". Other solo albums were We Meet Again, and Got To Keep Movin on Fantasy Records, and The Rest of My Life for Arista Records. Though her solo records have been critically acclaimed, Reeves has never achieved the success that she had enjoyed with the Vandellas. Reeves currently resides in Downtown Detroit after living twelve years in Los Angeles. She continues to tour and record; sometimes the Vandellas consists of her sisters Lois and Delphine. On special occasions, she performs with Beard and Ashford. Rosalind Ashford has just retired from Ameritech and Annette Sterling has worked at St. John's Hospital as a phlebotomist for the last forty years. The Vandellas were inducted into the Rock and Roll Hall of Fame in 1995 Martha Reeves & The Vandellas Discography at Discogs Martha Reeves & The Vandellas Profile: Martha Reeves & the Vandellas were an american vocal group.

They were one of the most successful groups in the Motown roster during the 1960's performing primarily soul, but also pop and rock'n'roll. In 1967 the group's name was officially changed from Martha & The Vandellas to Martha Reeves & The Vandellas, to conform with the company's recent changes of The Supremes and The Miracles 's names to profile their featured lead singers. Line-Up Chronology Martha and The Vandellas — Free listening, videos, concerts, stats and photos at Last.fm pop Martha and the Vandellas were one of the most successful groups in the Motown roster during the 1960s and fully active from 1960 to 1972, performing at various times doo-wop, pop, rock and roll and soul.

The label's second most-successful all-female singing group after The Supremes, Martha Reeves and the Vandellas were known for a churchier, more southern-styled soul than the Supremes, as typified in Motown hits such as "(Love Is Like A) Heat Wave", "Jimmy Mack", "I'm Ready… read more Martha Reeves & The Vandellas | The Howard Theatre Martha Reeves & The Vandellas (Subject to Availability) It’s hard to believe it that it was nearly 50 years ago that Martha Reeves first hit the charts with the bluesy, soulful “Come and Get These Memories.” It is especially hard to believe that much time has passed when Reeves hits the stage. With the unmistakable voice that helped define “the sound of young America,” dancing and strutting with an incredible energy, Reeves is a live wire. Martha Reeves and her sisters in song (and in life) Lois and Delphine, continue to heat up clubs, concert stages and music festivals across the globe, thrilling audiences and always leaving them dancing.

Their hits are legendary: the Grammy-nominated “Heat Wave,” the gospel-tinged “Nowhere to Run,” the classic soul favorite “My Baby Loves Me,” and the signature, “Dancing In The Street.” Crowned “Motown’s ultimate soul diva,” Martha Reeves established herself as one of music’s greatest voices from the beginning. She backed Marvin Gaye on his first three hits (“Stubborn Kinda Fellow,” “Pride and Joy,” and “Hitch Hike’) and gave Holland-Dozier-Holland their first big hit with “Come and Get These Memories.” In fact, it was listening to Martha singing “Memories” that Berry Gordy came up with Motown tag line, “the sound of young America.” While the roster of Vandellas changed frequently, Reeves’ soaring soprano was the constant. Martha’s story is a familiar one to legions of fans. Soon after graduating from high school, Martha performed in clubs as “Martha Lavaille.” One night, Motown A&R director Mickey Stevenson heard her and invited her to audition for the then-fledgling label. The highly-motivated Reeves arrived the next morning.

Upon learning that auditions had to be scheduled, she made herself valuable by answering phones and taking messages. When people say she started at Motown as a secretary, Reeves corrects them, laughing, “I was never a secretary. I was a singer who could type.” One day, when Mary Wells missed a session, Martha stepped up to the mic and got notice and a contract. She left the A/R department to become one the most enduring and beloved stars in the Motown family. As classics never fade, new and diverse audiences are constantly being introduced to the Martha Reeves songbook. She has counted talents as diverse as James Brown and Beverly Sills among her duet partners. Robin Williams spun “Nowhere to Run” in Good Morning, Vietnam. Her version of the Van Morrison rocker, “Wild Night” was featured on the Thelma and Louise movie soundtrack. The boys in The Boys In The Band and Whoopi Goldberg in Sister Act 2 partied to “Heat Wave.” Everyone from Mick Jagger and David Bowie, the Mamas and the Papas, and the Grateful Dead have gone “Dancing In The Street.” Neo-soul singers such as Adele and Amy Winehouse sing her praises.

The late Luther Vandross paid homage to her in his “I’ll Let You Slide.” And, most recently, Melanie Fiona sampled “Jimmy Mack” in her hit, “Please Don’t Go (Cry Baby).” Martha Reeves & the Vandellas are ranked (ahead of the Supremes) on Rolling Stone’s “100 Immortal Artists.” And MusicRadar.com recently named Martha one of the “30 greatest lead singers of all time.” Beyond the concert stage, Reeves starred in a US tour of the Tony-winning “Ain’t Misbehavin’”, and has performed in road shows of “The Jackie Wilson Story” and “Good Black Don’t Crack.” She co-starred for three seasons in the UK stage review “Dancing In The Street,” alongside Motown peers like the late Edwin Starr, Mary Wilson, and Freda Payne. Following Starr’s death in 2003, Reeves held the spotlight alone. That same year, she made her opera debut singing with the Motor City Lyric Opera.

Reeves is the recipient of the Dinah Washington Award, a Rhythm n’ Blues Foundation Pioneer Award, a Black Woman in Publishing Legends Award, and has been inducted in the Alabama, Soul, Rock and Roll, and Vocal Group halls of fame. Today’s Martha Reeves is fully exposed in her self-produced and critically praised CD “Home to You.” Named by The Asbury Park Press as one of the best blues/root music albums of 2004, Reeves gives both new and older fans the kind of no-frills, straightforward soul singing rarely heard on contemporary radio. From the blues funk of “Watch Your Back” to the jazzy “God Bless The Child,” to “Running For Your Love” recalling old school Motown, this Motown classic proves that she is still a powerhouse. The disc is also the first to feature Martha with current Vandellas Delphine Reeves and Sandra Jackson (aka, Lois Reeves). Lois became a Vandella right out of high school in 1967. She hit the road running. She debuted on the “Riding High” album, and was featured on the group’s last three Motown albums.

Lois performed with the group in their Copa debut, at major venues in such as Mr. Kelly’s in Chicago, P.J.’s in Los Angeles, and the Hilton Hotel in Las Vegas, as well as national television appearances on “The Joey Bishop Show,” “The Mike Douglas Show,” and NBC 1968 special “Soul!” Her strong alto voice is heard on the rare “Live in Japan” album and the still-in-the-vault “Live at the Copa.” After the group left Motown, she joined Al Green’s backing group, Quiet Elegance, and also performed with Engelbert Humperdinck. Delphine joined Martha and Lois in the mid 1980’s, performing across the US, in Europe and with Martha as the group made its first appearances in Australia and New Zealand. Delphine made her television debut as a Vandella on “America’s Funniest Home Videos” and has also appeared on shows such as Montel Williams, and the Jools Holland show in England. Martha and the ladies continue to be in demand across the globe.

In 2010, they were nominated for two UK Festival Awards as “Best Headliners” for their performance at the Lounge on the Farm Festival and as “Feel Good Act of the Summer” for their performance at the Vintage at Goodwood Festival. They ended 2010 with a tour of UK clubs and opened 2011 at the historic Berns Hotel in Stockholm, Switzerland. Martha recently completed a six-night sold out engagement at San Francisco’s Rrazz Room. Martha Reeves and the Vandellas are true Motown and music legends. They will make sure that you “can’t forget the Motor City.” Martha Reeves & The Vandellas — Listen for free on Spotify Martha Reeves & The Vandellas Play on Spotify Along with the Supremes , Martha & the Vandellas defined the distaff side of the Motown sound in the '60s. Their biggest hits, including "Heat Wave," "Dancing in the Street," and "Nowhere to Run," remain among the most potent and enduring dance records of the era.

The vocal group was led by Martha Reeves who, along with fellow Detroit natives Annette Sterling Beard, Gloria Williams , and Rosalind Ashford, founded the Del-Phis in 1960. After Reeves landed a secretarial position at the offices of Motown Records, the Del-Phis were tapped to record a one-off single for the label's Melody imprint, which they cut under the name the Vels. The single fizzled, and Williams exited, reducing the group to a trio. After backing Marvin Gaye on the superb 1962 record "Stubborn Kind of Fellow," they were renamed Martha & the Vandellas, taking inspiration from Detroit's Van Dyke Street and Reeves ' heroine, Della Reese . When singer Mary Wells failed to show up for a recording date, musicians' union rules demanded that a vocalist be found to fulfill contractual obligations.

As a result, Reeves was yanked from the secretarial pool and laid down what would become Martha & the Vandellas' first record, 1963's "I'll Have to Let Him Go." The Top 30 success of the ballad "Come and Get These Memories" brought the group the attention of Motown's hit-making production team Holland-Dozier-Holland , who crafted their next smash, the galvanizing Top Five classic "Heat Wave," which perfected the mix of impassioned call-and-response vocals, pulsing rhythms, and full-bodied horns that became the trio's trademark. Following another Top Ten hit, "Quicksand," Beard retired, and was replaced by former Velvelette Betty Kelly. After singer Kim Weston turned down the Marvin Gaye / Ivy Jo Hunter /Mickey Stevenson composition "Dancing in the Street," the song was shuttled to Martha & the Vandellas; refashioned by Holland-Dozier-Holland to fit the group's formula, the anthem became their biggest hit and definitive statement, reaching number two in the summer of 1964.

A year later, they returned with another smash, the savage "Nowhere to Run," followed by "I'm Ready for Love." In 1967, Kelly exited, and was replaced by Reeves ' younger sister Lois; on subsequent releases, the group was billed as Martha Reeves & the Vandellas. 1967's "Jimmy Mack" and "Honey Chile" were the last records overseen by the Holland-Dozier-Holland team before their defection from Motown, and were also the final significant Vandellas hits. In 1968, Martha Reeves fell seriously ill, and in 1969 Ashford departed, with another former Velvelette , Sandra Tilley, assuming her position. The trio continued unsuccessfully for a few more years before breaking up in the wake of a December 1972 farewell performance at Detroit's Cobo Hall. After Motown relocated its corporate offices to Los Angeles (a move Reeves denied she was privy to), the singer, who had begun a solo career, sued to have her contract with the label annulled.

In her 1994 autobiography, Dancing in the Street, she charged that the Vandellas' career, though highly successful in its own right, could have been even greater had Motown founder Berry Gordy, Jr. given their music the same obsessive attention he afforded to Diana Ross & the Supremes . Reeves recorded her debut solo effort, Martha Reeves, for MCA in 1974. Though a few more LPs followed, including 1976's The Rest of My Life and 1978's We Meet Again, she received little notice on her own, and eventually suffered a pair of nervous breakdowns that led to a brief period of institutionalization. Lois Reeves, meanwhile, went on to work with Al Green , while Sandra Tilley retired from music; she died in 1982 following surgery on a brain tumor. In 1989, Martha Reeves , Annette Beard, and Rosalind Ashford successfully sued Motown for back royalties, and occasionally reunited for performances in the '90s. Reeves also continued as a solo artist, and in addition performed with a Vandellas unit consisting of Lois and a third sister, Delphine.

She released another solo album, the independent Home to You, in 2004. From 2005 through 2009, she served on Detroit's city council. Afterward, she aligned with a non-profit organization to help musicians receive royalties, and she continued to be an active performer with the Vandellas. ~ Jason Ankeny, Rovi Read More Show less Martha & the Vandellas | Biography & History | AllMusic Martha & the Vandellas Biography by Jason Ankeny Motown group, fronted by Martha Reeves, that scored ten Top 10 R&B hits, including "(Love Is Like A) Heat Wave" and "Jimmy Mack." google+ Artist Biography by Jason Ankeny Along with the Supremes , Martha & the Vandellas defined the distaff side of the Motown sound in the '60s. Their biggest hits, including "Heat Wave," "Dancing in the Street," and "Nowhere to Run," remain among the most potent and enduring dance records of the era.

The vocal group was led by Martha Reeves who, along with fellow Detroit natives Annette Sterling Beard , Gloria Williams , and Rosalind Ashford , founded the Del-Phis in 1960. After Reeves landed a secretarial position at the offices of Motown Records, the Del-Phis were tapped to record a one-off single for the label's Melody imprint, which they cut under the name the Vels . The single fizzled, and Williams exited, reducing the group to a trio. After backing Marvin Gaye on the superb 1962 record "Stubborn Kind of Fellow," they were renamed Martha & the Vandellas , taking inspiration from Detroit's Van Dyke Street and Reeves ' heroine, Della Reese . When singer Mary Wells failed to show up for a recording date, musicians' union rules demanded that a vocalist be found to fulfill contractual obligations.

As a result, Reeves was yanked from the secretarial pool and laid down what would become Martha & the Vandellas ' first record, 1963's "I'll Have to Let Him Go." The Top 30 success of the ballad "Come and Get These Memories" brought the group the attention of Motown's hit-making production team Holland-Dozier-Holland , who crafted their next smash, the galvanizing Top Five classic "Heat Wave," which perfected the mix of impassioned call-and-response vocals, pulsing rhythms, and full-bodied horns that became the trio's trademark. Following another Top Ten hit, "Quicksand," Beard retired, and was replaced by former Velvelette Betty Kelly . After singer Kim Weston turned down the Marvin Gaye / Ivy Jo Hunter / Mickey Stevenson composition "Dancing in the Street," the song was shuttled to Martha & the Vandellas ; refashioned by Holland-Dozier-Holland to fit the group's formula, the anthem became their biggest hit and definitive statement, reaching number two in the summer of 1964.

A year later, they returned with another smash, the savage "Nowhere to Run," followed by "I'm Ready for Love." In 1967, Kelly exited, and was replaced by Reeves ' younger sister Lois ; on subsequent releases, the group was billed as Martha Reeves & the Vandellas . 1967's "Jimmy Mack" and "Honey Chile" were the last records overseen by the Holland-Dozier-Holland team before their defection from Motown, and were also the final significant Vandellas hits. In 1968, Martha Reeves fell seriously ill, and in 1969 Ashford departed, with another former Velvelette , Sandra Tilley , assuming her position. The trio continued unsuccessfully for a few more years before breaking up in the wake of a December 1972 farewell performance at Detroit's Cobo Hall. After Motown relocated its corporate offices to Los Angeles (a move Reeves denied she was privy to), the singer, who had begun a solo career, sued to have her contract with the label annulled.

In her 1994 autobiography, Dancing in the Street, she charged that the Vandellas ' career, though highly successful in its own right, could have been even greater had Motown founder Berry Gordy, Jr. given their music the same obsessive attention he afforded to Diana Ross & the Supremes . Reeves recorded her debut solo effort, Martha Reeves , for MCA in 1974. Though a few more LPs followed, including 1976's The Rest of My Life and 1978's We Meet Again , she received little notice on her own, and eventually suffered a pair of nervous breakdowns that led to a brief period of institutionalization. Lois Reeves , meanwhile, went on to work with Al Green , while Sandra Tilley retired from music; she died in 1982 following surgery on a brain tumor. In 1989, Martha Reeves , Annette Beard , and Rosalind Ashford successfully sued Motown for back royalties, and occasionally reunited for performances in the '90s. Reeves also continued as a solo artist, and in addition performed with a Vandellas unit consisting of Lois and a third sister, Delphine.

She released another solo album, the independent Home to You , in 2004. From 2005 through 2009, she served on Detroit's city council. Afterward, she aligned with a non-profit organization to help musicians receive royalties, and she continued to be an active performer with the Vandellas . Martha & The Vandellas - Listen to Free Music by Martha & The Vandellas on Pandora Internet Radio more Martha & The Vandellas Along with the Supremes , Martha & the Vandellas defined the distaff side of the Motown sound in the '60s. Their biggest hits, including "Heat Wave," "Dancing in the Street," and "Nowhere to Run," remain among the most potent and enduring dance records of the era. The vocal group was led by Martha Reeves who, along with fellow Detroit natives Annette Sterling Beard, Gloria Williams , and Rosalind Ashford, founded the Del-Phis in 1960. After Reeves landed a secretarial position at the offices of Motown Records, the Del-Phis were tapped to record a one-off single for the label's Melody imprint, which they cut under the name the Vels.

The single fizzled, and Williams exited, reducing the group to a trio. After backing Marvin Gaye on the superb 1962 record "Stubborn Kind of Fellow," they were renamed Martha & the Vandellas, taking inspiration from Detroit's Van Dyke Street and Reeves ' heroine, Della Reese . When singer Mary Wells failed to show up for a recording date, musicians' union rules demanded that a vocalist be found to fulfill contractual obligations. As a result, Reeves was yanked from the secretarial pool and laid down what would become Martha & the Vandellas' first record, 1963's "I'll Have to Let Him Go." The Top 30 success of the ballad "Come and Get These Memories" brought the group the attention of Motown's hit-making production team Holland-Dozier-Holland, who crafted their next smash, the galvanizing Top Five classic "Heat Wave," which perfected the mix of impassioned call-and-response vocals, pulsing rhythms, and full-bodied horns that became the trio's trademark. Following another Top Ten hit, "Quicksand," Beard retired, and was replaced by former Velvelette Betty Kelly.

After singer Kim Weston turned down the Marvin Gaye / Ivy Jo Hunter / Mickey Stevenson composition "Dancing in the Street," the song was shuttled to Martha & the Vandellas; refashioned by Holland-Dozier-Holland to fit the group's formula, the anthem became their biggest hit and definitive statement, reaching number two in the summer of 1964. A year later, they returned with another smash, the savage "Nowhere to Run," followed by "I'm Ready for Love." In 1967, Kelly exited, and was replaced by Reeves ' younger sister Lois; on subsequent releases, the group was billed as Martha Reeves & the Vandellas. 1967's "Jimmy Mack" and "Honey Chile" were the last records overseen by the Holland-Dozier-Holland team before their defection from Motown, and were also the final significant Vandellas hits. In 1968, Martha Reeves fell seriously ill, and in 1969 Ashford departed, with another former Velvelette , Sandra Tilley, assuming her position.

The trio continued unsuccessfully for a few more years before breaking up in the wake of a December 1972 farewell performance at Detroit's Cobo Hall. After Motown relocated its corporate offices to Los Angeles (a move Reeves denied she was privy to), the singer, who had begun a solo career, sued to have her contract with the label annulled. In her 1994 autobiography, Dancing in the Street, she charged that the Vandellas' career, though highly successful in its own right, could have been even greater had Motown founder Berry Gordy, Jr. given their music the same obsessive attention he afforded to Diana Ross & the Supremes. Reeves recorded her debut solo effort, Martha Reeves , for MCA in 1974. Though a few more LPs followed, including 1976's The Rest of My Life and 1978's We Meet Again, she received little notice on her own, and eventually suffered a pair of nervous breakdowns that led to a brief period of institutionalization. Lois Reeves, meanwhile, went on to work with Al Green , while Sandra Tilley retired from music; she died in 1982 following surgery on a brain tumor.

In 1989, Martha Reeves , Annette Beard, and Rosalind Ashford successfully sued Motown for back royalties, and occasionally reunited for performances in the '90s. Reeves also continued as a solo artist, and in addition performed with a Vandellas unit consisting of Lois and a third sister, Delphine. She released another solo album, the independent Home to You, in 2004. From 2005 through 2009, she served on Detroit's city council. Afterward, she aligned with a non-profit organization to help musicians receive royalties, and she continued to be an active performer with the Vandellas. ~ Jason Ankeny

Question: What is the name of Martha Reeves backing group
Answer: The Vandellas